The daughter of a wealthy Pennsylvania banker, Mary Cassatt studied art in Philadelphia before moving to Europe at age 22. In 1874, she settled in Paris and quickly established herself as an artist specializing in paintings of women. Cassatt developed her own innovative approach to painting, prompting an invitation from artist Edgar Degas to exhibit with the Impressionists in 1879. Admired by artists and critics alike, she soon achieved great success. Cassatt divided her later years between Paris and the French countryside. Although forced into early retirement by failing eyesight, she remained an active force in the art world. A mentor to many young artists who sought her advice, she also encouraged wealthy Americans to buy Impressionist art.
A favorite subject for Cassatt was the interaction between women and children. In this painting, a woman—the cousin of Cassatt’s loyal maid—soothes a distressed child. The baby probably belonged to the artist’s brother, Alexander, who often brought his four children to France to visit their aunt. Cassatt frequently entertained nieces and nephews at her chateau, which provided the setting for many of her images of mothers and children.
Gesture and expression are central to this painting. Seemingly on the verge of tears, the child presses one hand to the source of the grievance. Susan is evidently gentle, tender, and concerned. Their interaction suggests a close and comfortable relationship. By tilting the baby carriage upward and framing the figures in white, Cassatt has enhanced this sense of intimacy. In the background, lively dabs of color indicate the gardens of the chateau. The painting illustrates Cassatt’s remarkable ability to turn an everyday moment into a rich and moving work of art.
When Cassatt exhibited with the Impressionists, she discovered a whole new world of stylistic influences—including photography and Japanese woodblock prints, as well as the work of her fellow Impressionists. As seen in this painting, she adopted a brighter palette, looser brushwork, and more contemporary subject matter.
At a time when few women had careers of any kind, Cassatt decided to pursue painting as a profession. Like other women, she was denied much of the formal training available to male artists. Nor did she enjoy the freedom to paint many of the subjects and places explored by her male counterparts. Bars, cafes, and other venues favored by the Impressionists were deemed inappropriate environments for a woman. Instead, Cassatt used her distinctly female perspective to create intimate scenes of domestic life. She herself never married or had children.
